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itul 


a 


Interiors 


and 
how to achieve them 


IEDGAIR W. JIENNIE 


Published by 
5. KARPEN & BROS: 


Designers and makers of furniture for hall, living room, 
library, and sun room; for hotels, clubs and theaters 


EXHIBIT ROOMS 


Chicago: 801-811 South Wabash Avenue 
New York: 37th Street and Broadway 
San Francisco: 180 New Montgomery St. 


FACTORIES 


Chicago + Long Island City + Michigan City, Ind. 
Los Angeles at Huntington Park, Cal. 


COPYRIGHT 1928—S. KARPEN & BROS. 


=== THI NEW ART OF BEAUTIFUL INTERIORS ::- 


V 


The trend is definite and unmistakable. The love tor the beautiful, innate in 


every woman, is finding new expression in the home. 

Not before in all the world’s history has interest in interior decoration been so 
widespread. Not before have guests glanced about them so critically when visiting. 
Nor have the hostess and host been so conscious of the furnishings in their home. 

The new art of beautiful interiors is absorbing the attention of all who rent 
or own. 

Instead of a catch-all for outer garments, the reception hall is taking its proper 
place as a fitting introduction to the home. The gloomy parlor is becoming the living: 
room that is really livable and a true expression of its owner's taste and position. The 
bed-chamber that was a nonentity, today is being transformed into a room that is 
individually intimate and personal. 

In consequence, homes are happier, parties are gayer, and children are growing 
up in the helpful environment of harmony. 

So that all who, themselves, desire to decorate their homes may have a better 
knowledge of the new art of beautiful interiors, this little book has been written. No 
attempt has been made to cover the entire subject of decoration. That would be 
impossible within the limits of its pages. Nor does the author presume to set down 
infallible rules; for to every rule there are many exceptions. 

Rather, the purpose is to be helpful to the greatest number, to supply a plan that 


is understandable and workable, applicable to most homes, and practical for every income. 


J BS fo plan your wooms. Everything worth while must begin with a plan. 


Interior decoration is no exception. So, whether you intend to refurnish your 


home entirely or rearrange and add to your present furniture, first get a large sheet of 
paper, a pencil, and a ruler. 

Let’s start with the room that is the most difficult and most important, your 
living-room. The basic principles of its decoration may be applied to any other room 
in your home. 

Measure carefully its length and breadth and nooks and bays and draw a 
simple floor plan using a scale of one inch to the foot. Measure, too, the windows, 


doors, fireplace, and all wall spaces. Mark them in accurately with their dimensions. 


ix MYON TE 


FLOOR PLAN Ser 


Se 


MEASURE CAREFULLY ITS LENGTH AND BREADTH DRAW A SIMPLE FLOOR PLAN 


Alongside, write down the style of the interior architecture, whether it is 
ornately panelled in the French manner, has the arched doors and rough textured 
walls of Spain, has the simple maple or painted woodwork of Early American, has 
English wood-panelled walls, has characteristically Italian details, or is modern with 
no particular period emphasized. Write whether the ceiling is high or low, the room 
large or small. Next list the following words, leaving a blank space below each: 
Character, Period, Fabrics, Color, Furniture Selection, Arrangement. 


Have you done all this? Then we will proceed to determine just how these 


blank spaces should be filled out. 


Hetoumining Glee The first question to answer is: What is the predom- 
inant purpose of this room? 


Will it be used most frequently for quiet family evenings ina home where large 


Tue Georcian Room sy Epcar W. JENNEY 


A charming combination of library and living 
room, with shelves of books recessed in the walls, 
is here achieved for lovers of literature. For re- 
pose when reading, the comfort of English fur- 
niture is the happy choice; a Queen Anne wing 
chair, a Georgian coxwell, a Georgian desk with 
its companion chair of the same period, a Queen 


Anne tilt top table. The warm color scheme 


finds its inspiration in the draperies; the reds 


of the upholstery, the green of the painted walls 
which are panelled in the Georgian manner, and 
the tan and green of the Axminster rug. Illus- 
trating Karpen pieces: wing chair BI-967, Cox- 
well BI-968, desk chair BI-969. 


parties are not the rule? Then warm subdued colorings, informality, and comfort 
are main considerations. 

Will it sparkle with entertainment and youthful gatherings? Then lively colors, 
smaller chairs so that there may be space for more of them, and central groupings 
form the prescription. 

Perhaps yours is a book-loving family. Then a combined library and living-room 
will be the choice; and bookcases, easy reading chairs, and tables with lamps close by, 
must be considered in the planning. 

A musical family will most appreciate a more formal room arranged around 
the focal point, the piano. 

Or maybe you, as your husband’s partner, often help him entertain his business 
friends; and a masculine room may be desired with deep, roomy, man-sized pieces, 
smoking stands, and coffee tables. 

Only you can find the answer to this question. A moment's introspection will 


give it to you, and you can fill in the first space in your plan under the word “Character.” 


Choosing the Spero k The interior architecture may predetermine the period in 
which your living-room is to be decorated. You may now own furniture of a style 
that suits your purpose, which you will want to use asa basis. Room size and ceilings 
are influencing factors. But usually no other consideration ranks in importance with 
the room’s character which you have just decided. 

Quite naturally the tastes and tendencies of the times were expressed in the 
designing of each style of furniture. So in the living habits of the great periods we 
shall discover which one best suits the character of your room. 

Let us go back to the sixteenth century in Italy. 

Beauty had inspired the entire nation. Geniuses in every form of artistic ex: 
pression had scaled heights that for centuries the world would vainly try to achieve 
again. It was the Renaissance. Had we entered a palazzo Orathnat period, rooms of 
stately aspect, vast in size and high of ceiling, would greet our eyes. Tapestries, gold 


embroidered velvet banners, and rich damasks, would illumine the walls with color. 


The furniture, reflecting the art-wizardry of the age, would be massive, used sparsely, 
(for the Italians understood the value of blank spaces), and precisely arranged. 

We need look no further to realize that Italian Renaissance furniture—though 
modern adaptations are less massive—is for the room of classic formality and spacious 
dimensions. Kindred surroundings include walls of natural color with draperies and 


hangings echoing those we have seen in old Italy. 


A century passed and the Italian Renaissance had reached Spain, so thor- 
oughly influencing its furniture that the two periods may be happily blended into a 
single room. Still, the Moors have given Spanish Renaissance a style of its own, and 
its scale 28 eames Even tiny Spanish bungalows successfully employ its charm today, 
using wrought-iron fixtures on rough walls, shading the lamps with parchment, draping 
a brilliant shawl over the concrete mantel or on the piano, hanging the windows 
with damask. 

Just across the Pyrenees mountains, in the eighteenth century, was the pomp 
and splendor of the courts of France. The brilliancy of the royal fetes was borrowed, 
undimmed, by the furniture. 

Exquisite in ease, ornate and graceful in line, and of small proportions, it finds 
wide favor among the socially inclined of our times. It graces the large or small room, 
formally or informally arranged, with crystal festooned lamps on small tables, silken 
draperies on recessed windows, bric-a-brac on marble mantels, French prints on walls 
panelled with tinted mouldings, and damask or brocade window draperies. 

In the same century, a gracious Queen of goodly proportions had ascended the 
English throne, Queen Anne. The furniture that bears her name has also her charac- 
teristics. Its gracefully rounded contours and deep comfort invite one to relax and rest. 
The loungy Coxwell chair and the wing or fireside chair blend well with this period, 
as do many of the great Georgian masterpieces of cabinet art that closely followed: 
Chippendale, Hepplewhite, Adam, Sheraton. The livable room inspired by such furni- 
ture might have English print wall paper; hunting pictures; an Axminster or Wilton 
rug, perhaps; a tilt-top table. 


What was happening in America? From the simple Colonial life had come 


furniture in many woods, varying as widely in design as the European styles from 
which it was largely adapted. Of quaint and unaffected charm were its ladder-back 
and Windsor chairs (mostly of maple), and chintz-covered sofas. These suggest maple 
or painted woodwork, polka-dotted wallpaper, rag or hooked rugs, water bottle or oil 
bracket lamps, and draperies of cretonne or toile de Jouy. It is a coincidence, a natural 
one, that in the provinces of France, people living a similar life had created a similar 


furniture, French Provincial, which can be used with Early American. 


We come to today. Furniture designers, borrowing from the old masters, adapting, 


Tending toward the feminine in grace and refinement, Louis XV furniture is An informal room that borders on the masculine in character, furnished with XVIII 
admirably suited for such a room. Its exquisite line radiates the splendor of the century English pieces, distinguished for pleasing proportions and deep comfort. Plum 
French court life which influenced its designing. The color scheme is in Rey: and green in deep and light keys, are the major hues, while a daring use of blue in the 
lavenders and greens, contrasting with yellow that deepens to tan and then to brown. pillows and the colorful cretonne on the barrel chair avoid any danger of monotony. 


originating, are achieving a furniture that is being used with excellent effect by pro- 
fessional decorators. Its range is wide. There are luxurious over-stuffed pieces, graceful 
loveseats, many occasional chairs, pieces from which you may choose for a living- 
room of any character, should you not desire to adhere to a period. 

Then there is an entirely new furniture style that is free 
from all tradition, that expresses the spirit, the life, the widening 
art appreciation of today. It is known as Modern. 

Nor would this chapter be complete if our typical American 


furniture were omitted, handwoven fiber. Graceful, gay asa 


garden, yielding, light, informal, and decidedly inexpensive, it 4,,. ee ote ae 
entire color theme 


offers a happy suggestion for many a charming living-room. (See page 11) 


28 


& 


Tue Brug Room sy Epcar W. JENNEY 


Here are portrayed the fine fundamentals of suc- 
cessful living rooms. The interior architecture is 
Louis XV, so the period is matched in the furni- 
ture. The silk damask on the larger pieces sets the 
dominant color, vivid yet cool, for repetition in 
mouldings and draperies. For contrast, the occa- 


sional chair inspires the warm and subdued tones 
of the rug. Intimate grouping and luxurious com- 
fort lend the charm of friendliness to a style that is 
quite formal. Illustrating Karpen pieces: sofa 
BI-938, large chair BI-939, small chair BI-940, 
side table BI-941, small commode BI-942. 


Surely, one of these styles seems designed especially to match the character of 
your living-room, and you have now selected the one that you will write down on 


your list under the word “Period.” 


CC e e 
5 absic Delechon: As closely related as the period and character of your room, are 
the period and the fabrics that are to clothe the upholstered pieces. There are three 


general classes: 


Printed: Chintz, linen, and cretonnes (the first often glazed), and printed silks. 
They are appropriate for Early American, French Provincial, and Handwoven Fiber 


pieces. Many mohairs and velours also have the patterns printed after they are woven. 


Pile Fabrics: Notably velour (French, for velvet); mohair (with a deeper pile); 
Jacquard velour (patterned in pile on a woven background); moquette (a worsted or 
cotton fabric) from England and Germany as well as the United States; and Frieze of 
mohair, ramie, or linen which has the pile or nap looped and. cut, to formed pattern. 
Plain mohairs have the pile all cut. These are favored fabrics for the larger pieces and for 
the backs and arms of chairs and sofas of any period save Early American and French 


pieces. 


Flat Fabrics, Woven without pile: Silk damask, brocade, tapestry, and brocatelle, 
lend themselves to French furniture and to the cushion covers and smaller pieces of 
the English school. Damask is often chosen also for Italian and Spanish sofas and 
chairs. Needlepoint tapestry, both in gros and petit point, Aubusson, Flanders, and 
hand-loom tapestries suit the finer occasional and formal chairs. Any rich piece is made 
more beautiful by the mellow tones of tapestry, and the trend is toward a wider use 
of this fabric. And silks and satins in plain tones, usually piped in contrasting color, 
are much in vogue on modern designs. 

You may prefer to withhold your decision on fabrics until you have seen them 


on the furniture and you have considered the next subject on your list. 


S Carmonizing color. Of what hue shall these fabrics be? You may have a per’ 


sonal preference for the color that is to predominate. 


10 


If you have decided on the quiet, comfortable character of room, your inclina- 
tion will probably tend toward tones that are subdued and warm. Light, vivacious 
colors ‘are suggested by French furniture. The man’s room calls for darker shades. The 
Early American scheme invites gay patterns. And for Spanish and Italian furniture 
there are deep reds, dark greens, metallic blues, golden tans, and leather. 

Whatever the major color may be, it should never be used to the point of 
monotony. However lovely the hue, its over-use 1s certain to be tiring. There must 
be relieving accents of contrasting yet harmonizing color in the occasional chairs, pil- 
lows, lamps, and vases. Cool blues and apple greens need warm contrasts. Dark colors 
should be enlivened with vivid tones. And vice versa. 

Often a piece of figured fabric will give you the entire color scheme. You may 
discover it in your draperies, on the tops of the cushions of your sofa, or in a piece 
which you may not even intend to use. | 

For example, what a lovely room the ratine tapestry, shown on page 8, could inspire 

Tis deepest shade of brown suggests a coffee chenille rug. The tan could be 
carried out in the mohair of a sofa. The parchment background sets the tone for the 
walls. Draperies, as cheery as the sunshine which streams through them, are invited 
by the golden yellow. Two attractive small chairs could be upholstered in the rose. 
Pillows of rose and gold would form splendid accents. And there is a spot of cold blue 
to be echoed in a pair of vases or, perhaps, in the shade of a lamp, or in its ceramic base. 

There are so many fabrics available that you are certain to find one into which 


has been woven your cherished color scheme, a pattern for you to follow in filling 


oo Dee ini cna linnen i tenn ere 


out the space in your plan below “Color.” 


Heciding on fuzniture. Each step 


brings us nearer to the realization of your 
room. We now go to a furniture store, not to 
buy, not even to make definite decisions, but 
only for ideas. Be sure to take with you your 
plan and, if you intend to use some of your 


present furniture, an accurate description of it. 


DECIDING ON FURNITURE 


11 


Tue EncuisHh Hatt sy Epcar W. JENNEY 


The hallway introduces the home and should 
emulate a personal introduction. A nice formal- 
ity is here accomplished by the balanced placing of 
the Charles II high back chairs. A cordial smile 
and warmth is supplied by the color scheme. Its 
motif was found in a tapestry; the blues for the 
chair coverings, the reds for draperies and bench, 


the quieter tones of the rug. From an earlier period 
than the furniture comes the wall panelling in 
fumed oak that proudly carries, above the Gothic 
door, carved heraldic emblems from the days when 
England’s knighthood was in flower. Illustrating 
Karpen pieces: high back chairs BI-964, bench 
BI-965, tapestry BI-966. 


i 

= 

ae 
oe 


AN INTERIOR IN THE MopERN Manner By EpGar W. JENNEY 


Free from tradition, as new as today, this music 
room presents the Modern Mode in decoration. 
Every exquisite detail reflects the design and fabric 
of the furniture (prize winner in a national Kar- 
pen competition for original’ designs). The two 
contrasting chair coverings have a common color 
note of burnt orange which the mesh window cur- 


1) 


tains echo. The green is repeated in the screen and 
vases; the red stripe is carried out in the chandelier 
tassels, the tables, and the curtain-edging. The 
rug combines the entire color scheme. Illustrating 
Karpen pieces: sofa BI-943, matching arm chair 
BI-944, odd arm chair BI-945, side chair BI-9 46, 
ottoman BI-947, tables BI-948, low table BI-949. 


Explain the purpose of your visit to the dealer. You will find him anxious and 
able to co-operate with you. Perhaps he has an interior decorating department which 
will be glad to serve you. | 

He will show you pieces that accord with your “plan room”. Let its character, 
period, and color scheme, guide your choices; but not so rigidly that your room will 
lack individuality. Heed your preferences too. Your own tastes must be a governing 
factor if your room is to express your personality. 

Measure those pieces that interest you most, width and length, and jot down 
this information carefully, for you will need it later in making sure that the proportions 
are right for the size of your room and for the spaces in which the furniture is to be placed. 

The dealer will probably lend you for a day, if you ask him, his Karpen cata- 
logue that shows furniture of every period and kind, with dimensions noted beneath 


each piece. Take it with you. It will prove invaluable in completing your plan. 


Cluranging the xoom. Your preliminary ideas on furnishing formulated, cut out 


small pieces of paper representing the length and breadth of each piece of furniture 
which you intend to use, old or new. Be sure that their sizes are accurately meas 
ured on the same scale as your floor plan, one inch to the foot. 

Place this “furniture” on your plan and move it about in different arrangements 
and groupings until the most pleasing effect is obtained. 

Arrange the main pieces first; the piano, sofa, any large chairs or tables, bearing 
in mind that the room should be built around what a professional decorator terms the 
main pivot. Such a center of interest is naturally formed by a fireplace. The sofa may 
be placed at right angles to one of its sides or directly opposite. 

Lacking a natural pivot, one can be created by centering a sofa on a wall, with 
a tapestry, large picture, or a pair of smaller pictures above it. Only in rare, very rare, 
instances is it tasteful to turn the sofa diagonally. Whatever its place, be sure that 
it parallels one of the walls. 

Now arrange the smaller pieces about this pivot to form your main or conver- 


sational grouping. They should be near enough together and faced so that their 


14 


occupants may converse without the need for talking loud or turning. The necessity for 
balance, too, should be considered. 

Informal balance requires only that the pieces on either side of the center of 
interest, as well as on the opposite sides of the room, should give the effect of equal 
weight. For example, a large chair, a small one, and a side table may be grouped to 
balance a sofa on the other side. 

Formal balance requires the centering of the main objects in the wall spaces, the 
opposing of “like against like” on either side of fireplace, window, doors, or sofas—matched 
pairs of chairs and cabinets, and companion pictures of the same size and character. 

There may be a space in your room for auxiliary groupings. A desk, chair, 


and wastebasket, might form a detached writing group. A reading group might be ar- 


ranged near a window, with a chair or two, a reading table and lamp. 


TRIANGULAR 
TABLE WITH 
ROUNDED LEAVES 


SJ FLOOR LAMP 


A LONG NARROW ROOM CAN BE HANDLED IN TWO GROUPINGS INTERESTING ARRANGEMENT AVOIDS A “RINGSIDE”’ EFFECT 


MUSIC 3 
CABINET 


gO NSOner ne 
WITH MIRROR 


USING THE FIREPLACE AS THE CENTER OF INTEREST A SEMI-FORMAL ROOM BALANCING “‘LIKE AGAINST LIKE” 


15 


A long narrow room often can be handled most effectively in two main groupings. 
A sofa with a table may be placed in the center, facing one end. This half may be 
treated as a conversational grouping and the other as a music-room or library. Care, 
however, should be taken that both halves harmonize in design and color. 

In a small room, furniture should not be placed out toward the center. It is 


equally essential to avoid the “ringside” effect of furniture placed stiffly around the 


walls. Small wall groupings answer the problem of securing a spacious effect without 


Inthe draperies of hand-blocked linen, this color scheme was found; the brown of the Little wonder that apple green is becoming so popular for walls. It is one of the 
carpet, the green of the sofa and small rug, the accents of burnt orange in pillow and most restful and pleasing of shades. Rose complements it beautifully and tan and 
shade. The pattern on the coxwell chair echoes thesc colors while its dark background old blue appearing in the occasional chairs and lamp form charming accents. Notice 
supplies the pleasing contrast that enhances all the hues. how the rug echoes this entire color motif in darker tones. 


monotony. Two chairs facing slightly toward a small table, one end of which is 
against the wall, suggest one pleasing variation. 

It is well to pause here and consider: Have you enough chairs to conform to 
the latest dictate in decoration? The mode of the modern interior requires a variety of 
occasional chairs. Though their period should be related, they need not precisely 
match the larger pieces. And there should be a sufficient number to avoid the embar- 
rassment of bringing in chairs from the dining-room when guests arrive. 

Ask yourself too: Are the pieces in proportion to the room? A small room 
needs small furniture. High ceilings allow the use of high-back chairs, tall secretaries, 
and cabinets. 

Low ceilings demand the opposite. 


This is the time to correct mistakes, now while your “plan room” may be easily 


16 


A ProvinciAt Bouporr By Epcar W. JENNEY 


For such a room, intimate and feminine, a dainty 
color scheme of rose and pale green is chosen, with 
relieving gray on the painted walls and green blue 
on the ruffles of the hangings. The French Provin- 
cial furniture suggests the toile de Jowy of day bed 
and dressing table hangings as well as its papered 
wall panel. Green chintz covers the arm chair and 


bench, while the canopy and draperies are of taf- 
feta. A small hook rug forms a nice accent on the 
larger rug which weaves together the room’s color 
motif. The cost of reproducing this Provincial 
boudoir is most moderate; the furniture, quite 
inexpensive. Illustrating Karpen pieces; day bed 
BI-970, arm chair BI-971, bench BI-972. 


17 


Stalian 
sndissnace 


(Classic in carving 
and formal in aspect) 


Spanish 


(Adapted from the 
Italian Renaissance and 
influenced by the Moors) 


(Echoing the splendor 
of gay French court life) 


Suis XIV 


(Richly formal) 


ans CV 


(Simpler lines, a natural 
reaction from Louis XV 
extravagance) 


Charles I 


(The most formal 
and elaborate of 
English styles) 


l 


le 


KS 
D\ Ac] KYA 
Ufa) a 


Typical spiral carved Contour and carving Classic carved ornament 
legs and stretcher of table pedestal used frequently 


Spanish origination; the 
chest on elaborate pedestal 


Spreading legs and wrought 
iron under-braces 


Typical underframing 
and use of fringe 


a 
os) 


Oo 
o & 
Bs 


Louis XV cabriole leg 
with “peg” foot 


Open and upholstered 
Louis XV arms 


Typical contour and carving 
of Louis XV chair back 


The usual Louis XVI 
back and arm 


Round leg, tapered and fluted, 
a distinguishing characteristic 


One type of arm and leg, echoing 
Louis XV influence 


Ne 


Typical carved underframing Another characteristic leg The sofa back is often divided 
and square foot terminates in scroll foot into two or three sections 


18 


Square chair 
back richly upholstered; 
usually brass studded 


High back chair with 


characteristic arm 


The heavier and more formal 
Louis XIV style 


Console with fluted legs 
and stretcher 


Distinguishing carving fre- 
quently crowns the chair back 


Queen Qnne 


(The graceful 
English style that gave comfort 
to furniture) 


Chippendale 


(English with Chinese influence) 


Hepplowhite 


(A contemporary English design) 


< 


i vialon 


(A restrained English style) 


Clare 


(English with classic Roman 
influence) 


ee eee 


Saily Clavciiccn 


(The simple style of our 
forefathers) 


chair carved splat 
aN: 


ie wenehe Gf nO Sarin é 


(Framed in light colored woods 
and covered in small patterned 
cretonnes or chintzes) 


if 


Typical ornament and cabriole 


leg with pad foot 


i 


Typical Chippendale claw 
and ball foot 


The square tapered leg, with 
recessed panel, of Sheraton 


Typical American Windsor 


Typical open arm chair with 
modified cabriole leg 


A plainer cabriole leg, 
equally typical 


A characteristic arm of 
upholstered pieces 


The straight square leg is 
also Chippendale 


Inlaid panels often crown the 
lattice backs of Sheraton chairs 


Another Windsor with 


Another characteristic style 
Y. of framing with round foot 


1) 


Fluted leg and typical arm 
of Hepplewhite 


The double leg and curved arm 
riser typical of Adam 


The ladder-back chair, usually 
of maple 


“The closed-arm wing or fireside 


chair with fluted leg 


A tilt top table of 
the period 


The shield chair back is charac- 
teristic of Hepplewhite 


The characteristic Roman vase 
and garland of Adam ornament 


Cretonne covered overstuffed 
pieces blend with the period 


The most usual leg and stretcher 
of the period 


changed and not later when your choices for the actual room will be difficult to retract. 
Finally, when every consideration has been carefully weighed, when your paper 


furniture is in place and pasted down, it is time to bring your plans into reality. 


Oke most important choice of all. Many lessons have been learned in our plan- 
ning, and the most important of all is this: the essence of successful decoration is furniture. 
Character, period, fabrics, colors, arrangement, every principle of the beautiful 
interior is dependent upon the furniture. Its choice is the most important decision that 
you have to make. After all your careful planning, there must be no misstep now. 

But how may you be sure of the authenticity of the design? How can you 
be certain of the fidelity of the fabrics? How can you look beneath the surface beauty 
and discover within that intrinsic worth, that honest construction so essential if the 
charm of your room is not soon to fade, if its comfort is not soon to disappear? 

You need not guess in these vital matters. You do not have to gamble. You can 
know beyond the slightest shadow of question or doubt. 

There is a furniture nameplate that is as significant today as the mark of Shera- 
ton was in an age gone by. For nearly a half century, this mark has been a guide for con- 
noisseurs of beauty and judges of value. It is the Karpen nameplate. 

Find it on the underframe of every piece of upholstered furniture that you buy. 
Whatever the price you have in mind, regardless of the character of room which you 
have decided upon, there are the perfect pieces in the wide range of Karpen styles to 


make your “plan room” come true. 
* * * 


When you have faithfully followed all the suggestions in this little book, and 
at last your room is done, you can say, with pride in the saying, “I have achieved 


a truly beautiful interior.” 


THE KARPEN 
NAMEPLATE MARKS 
FUUSREN Ue UiRIE, OF 
INTRINSIC WORTH 


No. 103 Louis XV 


No. 101 Georgian 


No. 110 Louis XV 


No. 116 Coxwell 


No. 114 Louis XV Motif No. 115 Ottoman 


21 


No. 117 Modern 


No. 118 Modern 


No. 119 Modern 


No. 120 Modified Modern 
No. 121 Louis XVI 


No. 126 
Chippendale 
Motif 


Yo. 124 Modified Modern 
No. 125 Louis XV 


No. 127 Chippendale Motif 


No. 128 Modern 


No. 130 Spanish 


No. 133 Spanish 


. 131 Spanish 


22 


No. 134 Decorated Provincial 


No. 139 Barrel Chai 


No. 141 
American Ladder-back 


No. 143 
Chippendale 


No. 145 
Fireside Wing 


No. 148 French Provincial 


No. 146 Queen Anne 


tod, 
f 


us 


} 
4 


eA, en am 


REUTER OED AOE SRE 


